The film Glass 4K download is a sequel to The Invulnerable and Split, starring James McAvoy, Samuel L. Jackson, Bruce Willis and Anja Taylor-Joy. The plot will unfold shortly after the finale of Split. David Dunn (Bruce Willis) begins the pursuit of a mysterious man with supernormal abilities nicknamed the Beast (James McAvoy) and eventually meets him. However, Elijah Pryce, who keeps secrets from both Dunn and the Beast / Kevin Crumb, intervenes.

Glass 4K review

David Dunn, an invulnerable superhero with twenty years of experience, is trying to hunt down the Horde - this is what the coalition of angry personalities of Kevin Wendell Crumb calls himself. Since the end of Split, they have gathered a whole cult around the Beast - Kevin’s twenty-fifth personality, which seems to possess supernatural powers. The two supermen eventually find each other, but a third force immediately finds them - a psychologist with the face of Sarah Paulson, who puts the heroes in a mental hospital and tries to convince them that they are quite ordinary people. In the same hospital, Dunn’s longtime acquaintance is already sitting - the evil genius Mr. Glass ULTRA HD, who believes that superheroes have not yet existed on earth. It is clear that the question of the escape of heroes is only a matter of time. Once upon a time, at the beginning of the century, budding director M. Night Shyamalan lost a point of contact with the audience. His films began to scold what the world is worth: the ideas in them, you see, are absurd, and the company twists are strung, and in general everything is excessive, deliberate, pretentious. But even after all the monstrous failures, both creative and cash, he was followed closely by, and in fact it is easier to explain than it seems. Shyamalan could have been an uneven playwright and a tasteless stage director - but he was never mediocre. If Knight is doing well, then for ages, if it is bad, then in such a way that her teeth are reduced. However, recently he was tired of making a terrible movie. In “The Visit” he changed the arrogant pathos with caustic self-irony, and in “Split” he also went into a conditional-genre form, the most convenient for a wide audience. Naturally, everyone around them blundered about the “Shyamalan comeback”, the return of the prodigal director to an understandable, comfortable, “objectively” good movie. From the “Glass” UHD, the sudden crossover “Split” and the “Invulnerable” that came out sixteen years before it, they waited for an even greater bias in the audience and adequate. But for Shyamalan, this would probably be too easy. “Glass” turned out to be almost the complete opposite of “Split”: this is by far the most “shyamalanovsky” film from the time of “The Girl from the Lake”. Here, the heroes carry utter nonsense (and suddenly convey hearty greetings to Nolan), even the companion’s cameo is not complete without twists, and there is another smaller turn in the final turn. At the same time, Shyamalan sometimes ironically winks at the viewer, then suddenly builds a stone-serious mine, which is paradoxically perceived as an even greater irony. In his shameless banter - multi-layered, that the bulb from “Shrek” - is easy to get confused, but by that he is beautiful. Shyamalan plays on the field somewhere between Sniper's Forbidden Reception and von Trier's Jack, builds the mythology of his favorite images and tropes - the ones for which he was most criticized. “Glass 4k” is a much bigger movie about Shyamalan itself than about a trinity of unusual heroes. The film, in which he finally interprets his position as a creator and makes it clear: to exploit his handwriting, no matter how others treat him, it will be for a long time. Shyamalan has always been a director, for whom the concept was above the direct content. In Glass, his reluctance to work with text goes to a new level: the whole concept here does not even lie inside the film and ends with the fact that it is a spin-off of two completely unrelated pictures. That's why local heroes are of little interest to him - that the many-sided maniac Kevin Wendell Crumb, that the one-faced superhero David Dunn, that Mr. Glass, sarcastically twitching his eye. They have already worked their way in other films, now they are just part of the M.N. Shyamalan exhibition - an insane art performance where everyone growls, fights, releases sarcastic comments about comics and builds against each other complex multi-paths. Where sudden artistic decisions like scenes of fights from the first person appear just like that, without special reasons and motivations. Shyamalan, completely uninterested in content, plays with the form — so brazenly and self-consciously that it would be, well, tasteless to be accused of bad taste. Glass: Trailer # 3 (Rus.) 0: 00 / 0:00 Speed1 How tasteless and to blame for the stupidity of the final twist - if only because he is clearly not the main one here. In fact, the central turning point in “Glass” is perhaps even more powerful than in the “Sixth Sense” - a film with which Shyamalan infected all of Hollywood with a love for unexpected outcomes. Then it was still possible to surprise with the twist that is unfolding inside one film - now the times are different, and it is time, accordingly, to evolve the methods. Shyamalan builds a large-scale mystification, stretching for almost twenty years - and then destroys it, because it was the least expected of him. And in the process he makes an important commentary, mirroring what he said in Invulnerable. Then David Dunn - a superhero without a leotard, - in fact, predicted the motion of the kinomix in realism. Now Shyamalan declares that your bullshit and cinema realism will always act solely within the framework of the myth. And if so, why not, damn it, do not have fun.

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